• Development and Reproduction
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• v.14 no.4
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• pp.307-316
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• 2010

This thesis attempts to describe the basis and value system respectively selected by opinions pro and against bio engineering technology and to induce discussions on the basis of the concept called 'two culture' issue by C. P. Snow - science culture, human culture, a teleological ethical theory and a deontological ethical theory, traditional eugenics, and liberalism eugenics. In addition, it will discuss about inconvenient truth about science and bio engineering which we have wrongly understood up to now - a myth on objectivity of science, autonomy of science and a scientist, a hunger of world, science expected to be responsible for all men. Lastly, it will describe study ethics and social responsibility, openness, moral imagination, self-examination, character of a bio engineer as professionalism.

• Culinary science and hospitality research
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• v.14 no.4
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• pp.14-26
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• 2008

The purpose of this study is to develop a communication model of teaching-learning at culinary practical learning class in school. Statistically, the organizational culture of culinary schools was influenced by the nature of hierarchical culture, task outcomes, and the conservative culture of organizations in companies. First, in basic skill class, teaching and learning methods are based on a teacher who leads students according to his plans and decisions. Second, in a higher skill course, teaching and learning methods are based on students who take an active part by injecting some fresh ideas into their class. Third, the model of three courses for culinary skill development has an effect on processing into a modeling-scaffolding-fading method by teaching and learning in school. It was ascertained that organizational culture directly or indirectly influenced organizational effectiveness and organizational culture in culinary schools. Moreover, it was found that organizational culture was the biggest influencing concept for communication effectiveness between teachers and students.

• Journal of the Korean Society of Food Culture
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• v.19 no.5
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• pp.556-565
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• 2004

This study examined dietary culture in Korea regarding collectivism through literature review. Based on the evidence from the origin of lineage and traditional customs, the Koreans' traditional collectivity appeared to have been grounded upon the northen nomadic culture emphasizing sentimental collectivity and harmonized with the characteristics of southern agrarian society related to mutual support and sociability. The inseparable relationship between collectivity and food was well revealed in the occasions such as rice-planting, kimchi and jang makings in which pooled labor was common as well as the gathering of mutual aid association. In these occasions, foods were offered and shared among members. Food sharing was a main activity and almost play a central role regarding the promotion of friendly relations among each other. In sacrificial memorials, food sharing was extended not only to the live persons but also to the passing spirits. Collectivity was also disclosed in the eating or table manners of Koreans. Koreans quite literally share food at every meal since the side dishes placed centrally on the table. The taste of Korean foods is completed inside the mouth by mixing foods with various combination, which let people create their own choice of taste. Therefore, the collectivity manners at the table appeared to be harmonized with individual freedom of creating his/her own taste of foods. The collectivity is still a very important concept in modem Korean dietary culture, as reflected by an increase of restaurants sewed shared dishes.

• Journal of the Korean Society of Costume
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• v.51 no.7
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• pp.21-33
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• 2001

The purpose of this study is to Investigate the value of multi-culture and to examine how multi-culture has been reflected in men's fashion. As for the research methodology, literary research was under taken to study psychoanalytical and socioeconomic contexts in which multi-culture in men's fashion has been formed. In addition, demonstrative studies on styles were undertaken through the analysis of pictures and photos. The historical range of this study is from the 19th century when western and modern original form of men's dress were visualized, to the year 2001 when the elements of multi-culture are expressed in men's fashion. Westerners in 19th century respected Greek fine arts and the desire for realistic restoration of the body of Greek hero is well reflected in men's suits. Other races were forced to believe such realistic depiction of the Greek body as a symbol of modernization. With the advent of the Information Society In the late 20th century, absolute power had been decentralized, and people in the third world have revealed the racial contradictions by realizing the concept of splitted subject existing In unconscious. In the post-colonial world in the late 20th century, the value of diverse cultures is admitted. Models come from various races in fine art or photographic work Fashion trends are no longer limited to dominant mode, and designers express multi-culture by adopting and renewing folk elements from all over the world.

• The Journal of Asian Finance, Economics and Business
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• v.9 no.8
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• pp.29-36
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• 2022

The objective of this research is to find out the effect of innovative culture and quality of work life on competitive advantage strategy with the mediation of individual performance. This research is the continuance of previous research conducted by Adya Hermawati with an originality aspect emphasizing a concept comprising innovative culture, quality of work life, and individual performance as factors that control competitive advantage strategy. The research subject is Tourism Industry SMEs. Explanatory research is a research method used in this study, by surveying respondents. The data sources in this research are primary and secondary. Primary data is collected from respondents directly through a questionnaire whereas secondary data are obtained from references that are relevant to research problems. In conformity with this explanation, the type of research data is quantitative data. The results of this research show that: innovative culture has an effect on individual performance, quality of work life affects individual performance, innovative culture has an effect on competitive advantage, quality of work life affects competitive advantage, individual performance has an effect on competitive advantage, innovative culture affects competitive advantage with the mediation of individual performance, and quality of work life affects competitive advantage with the mediation of individual performance.

• The Journal of Art Theory & Practice
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• no.1
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• pp.109-144
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• 2003

Orientalness is a concept that expresses the collective identity of the Orient in relation to the West. The concept itself is mutable and defined by the relationship between the two regions at different points in time. Changes in the concept depend on a number of factors, such as cultural influence, the political balance of power between the two regions, and on the interpretative scheme that defines the relationship. In addition, the geographical notion of the concept evolves culturally, socially and politically. During this process, Oriental-ness becomes Oriental-ism at times. I will attempt to survey and measure the progression of Orientalness from its emergence in early 17th century to its subsequent transformation in modern Korea as reflected in art theory and art works. The recognition of the comparative characteristics of Oriental art began when the Orient was exposed to the art of the West in the late Ming dynasty during the early 17th century. The changes in the artistic climate in China affected the late Chosun. I will start with a brief introduction of this time and the birth of Orientalness. The concept gradually changed during the period of Enlightenment(開化期) towards the end of the 19th century, and during the colonial period( 1910-1945) it took on a new form. Establishment of the concept of "Orient"as a single, unifying concept spanning across cultures and national boundaries has been attributed to late Meiji period Japan, whose intention at that time is believed to have been to build a pan-Asia(亞細亞) empire with Japan at its commanding center. It has been stressed that the real motive behind the formation of one single cultural unit, where the shared common written language was Chinese and Confucianism and Taoism were the common metaphysical traditions, was to build one political unit. When the notion of a geographical unit of Asia was replaced by the concept of Asia as a cultural and political unit, a massive growth of interest and discourse were provoked around the concept of Orientalism. When Orientalism was being formulated, Korea automatically became member of "one Asia" when the country became colonized. For Koreans, the identity of the Orient had to be defined in cultural terms, as the political notion of a nation was non-existent at that time. The definition of identity was pursued at two levels, pan-Asian and local. If Orientalism was an elite discourse centered in pan-Asian philosophical and religious tradition, localized Orientalism was a popular discourse emphasizing locality as the byproduct of natural geographic condition. After the liberation in 1945 from colonial rule, a thrust of movement arose towards political nationalism. Two types of discourses on Orientalism, elite and popular, continued as central themes in art. Despite the effort to redefine the national identity by eradicating the cultural language of the colonial past, the past was enduring well into the present time. As discussed above, even when the painting themes were selected from Korean history, the tradition of using history painting as a manifestation of political policy to glorify the local identity had its founding during the Meiji period. The elevation of folk art to the level of high art also goes back to the colonial promotion of local color and local sentiment. Again, the succession of the past (colonial) ideal was defended as the tradition assumed a distinct modern shape that was abstract in style. The concept of the "Orient" is of relative and changing nature. It was formulated in relation to Western culture or civilization. Whatever the real motive of the adoption of them had been, the superiority of the Orient was emphasized at all times. The essence of the Orient was always perceived as the metaphysical tradition as a way to downgrade Western culture as materialistic. This view still prevails and the principle of Orient was always sought in Confucianism, Taoism, and Buddhism. Even when Orientalism was employed by imperialist Japan in an effort to establish her position as the center of the Orient, the spiritual source was still in Chinese philosophy and religion. In art also, the Chinese literati tradition became the major platform for elite discourse. Orientalism was also defined locally, and the so-called local color was pursued in terms of theme and style. Thus trend continued despite the effort to eradicate the remnants of colonial culture long after liberation. These efforts are now being supported politically and also institutionalized to become the aesthetic ideal of the modern Korean art.

• The Journal of Art Theory & Practice
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• no.1
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• pp.71-92
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• 2003

This study examined the condition of an educational discourse, relating the concept of creativity, culture, culture-centered, and critical thinking, to explore Culture-based Art Education(CBAE). In particular, art education practice was examined using interpretations of creativity and critical theory positions from the field of education. Discourse analysis was used as the research method to contextually situate and analyze the ways in which art education theory and practice of creativity and of critical studies encoded meanings. The study helped build an understanding that creativity was formed as a modernist discourse in the humanistic stance. In education, creativity became the fundamental concern for progressive educators who pursued innate ability of individuals. The way to enhance creative potential of students was to induce their motive, as was the same case in art education, while in artist training, free expression was its main method. In this way, as creativity was intimately connected with the concept of expression, in art education art making is the only course for enhancing creativity. However, because creative process cannot intelligently be regarded as logically distinct from the creative product, and creativity can only be said by product, it seems valid to think that creativity is the quality not to be achieved by teaching. Furthermore, its emphasis on art making resulted in unbalance of art making and art appreciation in art education. It was the late sixties when several alternatives for creative education were made their appearance. Critical studies in art adopted critical theory as its theoretical background has developed as an alternative of creative art education, when research and theory for creativity could not be adequate to deal with the problem of practice. Critical theory is a broad and diverse field of theory and practice drawing on aspects of the modernist perspective of the later Frankfurt School, feminism, Freirean pedagogy, postcolonial discourse as well as postmodernism to construct a practical approach to education. It is very this eclectic nature to provide the mosaic that need to experience cultures from different perspectives in a pluralistic society. Because one's personality is formed by multiple aspects of culture which is very complex and is made up of what we do and value, creativity cannot make part of educational discourse with the philosophy of culture centered. On the other hand, critical studies, as a school art program of critical theory, can perform the role of CBAE, because it would have to deal with the investigation of social and cultural issues form multiple personal, local, national, and global perspectives.

• Journal of Korea Game Society
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• v.20 no.1
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• pp.3-12
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• 2020

This paper proposes a structure based on a production method of concept art focused on the player's experience through a module by using the game aesthetics of the MDA framework. And also a partially automated process established in concept art production by using the 'Adobe Color image color extraction' as a tool in the work production process. This paper proposed a work process of not just a personal expression but a systematic molding expression to use, and this could see as the various possibilities of game concept art productions.

• Women's Health Nursing
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• v.16 no.4
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• pp.419-423
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• 2010

Purpose: The concept of respect is rooted in the core value of human relations, and interpersonal relationships with others. The notion of respect in these relationships is entrenched in the broader context of the processes of relationships between professionals and clients in general, along with the philosophical and ethical foundations of respect. Although nursing principles and values, such as autonomy and dignity have built their foundation of care on the concept of respect, these concepts (ie. autonomy and dignity) are still different from respect. Respect within health professional-client relationships, indicates that respect is a fundamental concept within nursing, permeating a number of other concepts that provide purposeful nursing care within the process of nurse-client relationships and respect has been discussed as an ethical and moral concept of care that addresses the values of human dignity in the nursing discipline, however research examining the client s perspectives of respect as an ethical principle of care, especially within Canada s diverse population is non-existent. There is limited research from the client s perspective addressing challenges communicating the concept of respect in relationships between health professionals and clients, specifically research directed at immigrant or the vulnerable population.

• The Journal of Korean Medicine Ophthalmology and Otolaryngology and Dermatology
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• v.30 no.4
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• pp.104-130
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• 2017

Objectives : This study was designed to signpost the study of brain, intelligence and memory, while interpreting the concept of 'Chongmyeong(聰明)' neotrically and linking it to the clinic of Korean medicine. Methods : In this paper, the meaning of the word 'Chongmyeong(聰明)' is divided into two parts, intelligence and memory. We also explored the relationship between brain science and 'Chongmyeong(聰明)' based on complex system theory, cognitive science and embodied cognition. Results : Through the process of refining the concept of 'Chongmyeong(聰明)' neoterically, we proposed the new method to understand the concept of 'Chongmyeong(聰明)'. Conclusions : The concept of 'Chongmyeong(聰明)' should be interpreted not as a reductionistic viewpoint of brain science but as a viewpoint of brain science based on visual and auditory system and complex system. Human cognition is physically embodied in the environment, from the viewpoint of embodied cognition that it is constituted and formed in an interactive context with society and culture connected with the environment.